The double meaning, both literal and figurative is explicitly indicated in the novel, and thus, we receive certain references in order to place the text in the genre of intended allegory. The Strangers of Kipukua is a great metaphor of the narrator’s death, the figurative meaning being repeatedly declared in the text. Purgatory of the hero’s soul, Hawaii seems to be an anti-camera where he stops so that his eschatological destination should be decided, and in which he might go through a soteriological process. The attitude towards the significance of resurrection is, just like the fantastic, and narratology, ambiguous. The uncertainty regarding the status of the resurrection and of the resurrected will represent the last level of the allegory. The significance given by Valeriu Anania to this allegory seems uncertain itself, contradictory, ambiguous. The author sets the meaning of the resurrection polemically, its nature and status being in a way foreign for the profane mortal and rather incomprehensible for a rational analysis. This is why, even the author’s first approach of the unusual phenomenon is that of denial and rejection of its miraculous nature. The ontological status of the actants is that of resurrected to die, their long expectation in a diffuse uncertainty being explained through the unconscious but inherent resting for the revealing of the Final Judgement. In this vision, the island is rather an inner landscape, previously known and even independent in its direct perception as fragment of reality. The island is thus an archaic, archetypal form, a rather imaginary shape of the mind than a fragment of the contingent reality. It is an allegory in itself or, at least, a symbolic element of a greater allegory. The novel uses all the devices and techniques of the literary genre of apocalypse: the artistic ambiguity, the fantastic, the hyperbole. <br /> The entire story of the novel is built around an essential question: “Who am I? (…) that never-ending question without an answer, which started by belonging to one individual and ended by belonging to everybody.” Living the nostalgia of the primordial irreversibly lost, and also the chimera of recovering it in the present, the characters of the novel will find a primordial, mythical identity, which they will strive to revive by reiterating the hypostases and events of Hawaiian mythology, a factual moolelo. It is worth considering the case in which they discover their authentic archetype, and thus, will be given the identity redemption and the ontological peace. If all philosophy of name is reduced to a simple pseudonymity, to a substitution of proper names, as the relation nomen-cognomen seems to be constructed in the novel, then, the identity of the protagonists will never get a significant ontological essence, but will linger towards a shallow mystification or self-delusion. Longing to be someone special, the protagonists constantly sense the fact that they risk to become nobody. Paradoxically, through the formula “I is another” ” , Rimbaud and Julia Kristeva theorize the destiny of the Romanian writer’s foreigners in Kipukua: estranged and aware of their own estrangement, they strive not to become themselves but another, who no longer really represents them, and thus, they tear themselves, they consume themselves in neurosis and in a lack of existential authenticity.

The aim of the paper is to reveal to what extent is Lucian Blaga’s sixth drama to be reduced to the status of an aesthetic antagonism of two Christian denominations, Catholicism vs. Orthodoxy. Though the author imagines two monks and a western crusade through eastern land, we come to realize that the most important aspects of the play are its other characters, i.e. the Lady of the Fortress, her child and Crazy Ioana; moreover, the Fortress itself, a place that could not be geographically mapped for it is not a real realm, but a mythical world, an imaginary boundary between reality and fairy-tale, a mental concept where the authentic ancient spiritual features of the traditional original Romanian culture and civilization still survive. We conclude that Cruciada copiilor (The Children’s Crusade) is an artistic attempt to save the paradisiacal innocence and, at the same time, a philosophical warning to the futile death spiritual corruption implies.